Teeze relocated the project to the Warehouse studios in Philadelphia where guitar and vocal tracks were completed, but the sessions were interrupted again when Max Norman experienced scheduling conflicts with his next project and was now flying back and forth to California. The sessions were moved again and recording resumed at the Carriage House in Connecticut where the project was finally finished. The tapes were presented to the group for approval, but it was immediately evident to everyone who heard that first mix that the bottom end was almost completely missing! The problem was that the first mix was lacking "punch" and bass. On some tracks, it was actually difficult to hear Dave Weakley’s bass at all. The group ultimately wasn’t satisfied and told Champion that the tapes had to be re-mixed.

Champion disagreed and urged the group to release the album to Columbia since they were now running behind schedule. Heated arguments ensued between Gregg Malack and Champion and the guitarist was temporarily placated when management gave in and ordered a second mix, this time with Columbia A & R rep John Mrvos assisting Max Norman. Things looked promising until Gregg realized that Mrvos was only interested in re-mixing three tracks that he felt could be released as singles. The resulting re-mix sounded uneven. Gregg continued to insist on another mix and Champion relented again, but this time wouldn’t allow any band members to be present during the actual mixing! Even though they attempted to improve the bottom end, the desired result was never achieved and, giving into record company and management pressure to deliver the album for an August release, Teeze finally delivered the master tapes. The resulting album ended up sounding thin and entirely too polished. More ominously, the release date was now pushed back to the fall (the all-important 4th quarter when record companies devote most of their marketing and promotional energies to "superstar" product in hopes of improving their year-end bottom line – in short, the worst time of the year to debut a new band). William Morris signed on as booking agent and the LP was set for a late September 1988 worldwide release.

Sometime during the recording sessions, Champion determined that the "Teeze" name had never officially been trademarked (even though the group had been using it unchallenged since 1977). The problem had to do with other major label groups having used the name (most notably Canada's hard rocking Teaze who recorded from 1976-80 and, more importantly, an r&b Tease who recorded for RCA and Epic from 1983-88). CBS' legal eagles decided that Teeze had to change its name. So, under intense pressure from management and the label, Teeze gave in and changed its name to Roughhouse. After having built brand name recognition with the Teeze name and logo, the group was forced into a public relations nightmare of trying to get the word out to their core fan base on the eve of the album's release.

Champion flew Gregg, Luis and Dave out to Los Angeles in August 1988 to attend the Concrete Foundation Forum convention put on by Concrete Marketing. The high profile event was co-sponsored by RIP magazine and was designed to showcase upcoming releases by heavy metal’s top acts. This would be the perfect place to announce the new name, meet Columbia’s west coast staffers and preview the release of the new album. Roughhouse was told that the event was strictly meet-and-greet and that they wouldn’t be performing. They were stunned upon their arrival to see live concert sets by almost everyone there including the newly-signed Warrant, Wrathchild America, Judas Priest and Megadeth. Arguments ensued with Champion as to why Roughhouse wasn’t booked to perform. No reasonable explanation was ever given. The only saving grace of the weekend was an interview that was done with Gregg and Luis that was aired on MTV News the following week.

The next hurdle to overcome was to convince the staffers at Columbia that they had a new band worth promoting. Since Teeze had originally been signed by Tommy Mottola, it was assumed that the label would be firmly behind the project now that Mottola was the new head of Columbia. In fact, Champion was telling the group exactly that and not to worry about the commitment level of the label. But Teeze knew that the original A & R rep assigned to their album, industry veteran Mickey Eichner, had been re-assigned and was no longer involved. Their new A & R man was John Mrvos who had personally signed Philadelphia label mates Britny Fox. Initially, Columbia was promoting both bands together in a pre-release radio/retail blitz. Britny Fox was out of the box first with their debut album and would capture the interest of Columbia’s marketing and promotion departments. Roughhouse and Britny Fox shared Columbia A & R man John Mrvos. It didn’t take Mrvos and his team long to realize that radio was all over Britny’s album and their debut video, "Girlschool", was a smash on MTV.

Then, just as they thought nothing else could go wrong, Columbia began an advertising campaign for the group prior to the release date. An attorney came out of the woodwork and claimed that his client owned the rights to the Roughhouse name, even though his client had never released any product and only performed in a regional area of the country. This time Columbia dug its heels in and held its ground. Unfortunately, it would cost Roughhouse $10,000 of its advance to make the problem go away. Finally everything seemed to be ready for the worldwide launch of the newly-christened Roughhouse and their major label debut. The group's public relations firm arranged a huge press onslaught with reviews, interviews and photo spreads appearing in Playgirl, Faces, Hit Parader, Powerline, RockBeat, Metallix, Metal Edge, Kerrang!, Raw, Metal Forces, Billboard, Metal Rendevous, Circus, RIP, etc. Gregg, Luis, Dave, Mike and Rex were now looking to hit the road and unleash their "Corruption Of Your Morals" tour, hopefully repeating the success of Cinderella.

But what about a Roughhouse video? And where was the necessary tour? Amazingly enough, Champion didn't want the group to do a video and only relented after key members kicked and screamed that it would be career suicide not to do one. So, nearly two months after the album's release, Manhattan's SIR Studios was booked for filming of the "Tonight" video. Soon after, the video (which for some unknown reason was shot in black & white) landed in MTV's popular "Headbanger's Ball" Top 20. Roughhouse appeared on MTV and the video started climbing the Top 20 charts.

Meanwhile, despite massive coverage in the metal press, radio seemed unaware of the new LP with the exception of a handful of stations. Group fears were confirmed after Roughhouse members began calling major and secondary stations from tour stops only to find out that the local and regional Columbia reps weren't promoting the album. This telephone campaign actually resulted in several program directors calling CBS to ask why they weren't told of the group and informing them that "Tonight" had been added to their play lists! The group was shocked when key execs at CBS called them in for a meeting and demanded that they cease calling any radio stations. Roughhouse was further demoralized by the fact that William Morris wasn't offering them anything resembling a decent tour slot.

They were forced to go out on an ill-conceived, poorly-planned club tour of the northeast and midwest while label-mates Britny Fox (who's debut LP had been released at about the same time and who shared the same CBS A&R exec) immediately snared the opening slot for Joan Jett's "I Hate Myself For Loving You" tour and a major Poison tour right after that. Britny's debut went gold shortly thereafter. The Roughhouse tour lasted through January of 1989 (including a number of dates with Eddie Money).